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64 pages 2 hours read

Anthony Horowitz

Moonflower Murders: A Novel

Fiction | Novel | Adult | Published in 2020

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Chapters 23-31Chapter Summaries & Analyses

Chapter 23 Summary: “Atticus Pünd Takes the Case, Chapter One: Clarence Keep”

Conway’s novel is set in 1953 in the seaside village of Tawleigh-on-the-Water, Devon. The story opens in Clarence Keep, the home of Hollywood actress Melissa James. Phyllis Chandler is Melissa’s housekeeper and cook, while her 43-year-old son Eric is the chauffeur and handyman. Eric is childlike and has been taunted since birth due to his club foot. When Eric’s father died in World War II, the mother and son began working. Eric feels dominated by his mother and worries he will lose control of himself one day.

Melissa tells the Chandlers they can take her Bentley and visit Phyllis’s sister that evening. She plans to go to bed early while her husband, Francis Pendleton, goes to the opera. Melissa’s beauty is enhanced by a scar near her mouth. Eric can’t help staring at her, and Phyllis reprimands him for this after Melissa leaves the room.

Clarence Keep is a Regency folly built for James Clarence, a former governor of Jamaica. Designed in a colonial style, the house has sea views. Melissa loves Clarence Keep, but buying and restoring it has ruined her financially. Furthermore, her hotel, the Moonflower, is inexplicably making a loss. At 40, Melissa is no longer offered lead roles, and it has been five years since she starred in a Hollywood movie. However, she hopes to make a comeback in a new Alfred Hitchcock film. She is due to meet the director but has not yet been offered the part.

Melissa’s husband Francis is 10 years her junior. He comes from aristocratic stock and owns a boat, the Sundowner. Melissa dismisses Francis’s suggestion that they should talk, insisting she must go to the Moonflower. She has arranged to meet the hotel’s managers, the Gardners, to discuss the accounts. Pleading a headache, Melissa urges Francis to go to the opera without her that evening. Francis tells Melissa that he cannot live without her. Before she leaves to go to the hotel, Melissa pets her chow, Kimba, showing the dog more affection than her husband.

Chapter 24 Summary: “Atticus Pünd Takes the Case, Chapter Two: Algernon Marsh”

Melissa loves her pale blue Mark VI Bentley almost as much as she loves Kimba. She wishes it were not raining so she could drive with the top down.

Melissa named her 19th-century hotel after one of her films. Its managers, Lance and Maureen Gardner, once ran the profitable village pub, the Red Lion. Melissa tells the couple she is bringing in a team of accountants from London to check the books. She opens a letter that has arrived for her and recognizes the lilac paper. The sender writes regularly, claiming to be her “number-one fan” (258). This time, the letter’s tone is accusatory, berating Melissa for not appearing in any recent films. After Melissa leaves, Maureen panics. However, Lance assures his wife that he will solve the issue.

Meanwhile, an attractive young man named Algernon Marsh is speeding in his distinctive car: a right-hand drive, cream-colored Peugeot. He is still drunk from the alcohol he consumed during lunch at the golf club. When Algernon and his sister Samantha lost their parents during World War II, they moved in with their then-unmarried aunt, Joyce. Shortly afterward, Algernon served a three-month prison sentence for affray or fighting in public. After his release, he took several jobs, eventually becoming an estate agent and then a property developer. Algernon uses his good looks and charm to persuade older women to invest in his company, Sun Trap Holdings. He has convinced 30 clients, including Melissa James, to invest in non-existent properties in Saint-Tropez. However, Melissa recently called him, demanding to sell her shares. Consequently, he owes Melissa £100,000. Algernon looks at his watch and hits a pedestrian. He gets out of the car and concludes the man is dead. Another car passes but does not stop. Already disqualified from driving, Algernon knows he will likely go to jail if caught. He gets into the Peugeot and drives away.

Algernon’s sister, Samatha Collins, has received a letter revealing she is the sole beneficiary of her late Aunt Joyce’s estate. Joyce married a multimillionaire later in life, and Samantha’s husband, Leonard, speculates that they may be rich. Leonard is a doctor, and the Collins family lives in a large, down-at-heel house next to St. Daniel’s church. Samantha is a devoted wife, mother, and churchgoer. She reflects that Joyce never forgave Algernon when he went to prison but insists that she will share the inheritance with her brother. Leonard advises her not to tell Algernon yet.

Chapter 25 Summary: “Atticus Pünd Takes the Case, Chapter Three: The Queen’s Ransom”

In the hotel’s parking lot, Melissa is confronted by Simon Cox. Simon is a Latvian businessman and wants Melissa to star as Eleanor of Aquitaine in his first movie project, The Queen’s Ransom. Melissa initially agreed to the role but has decided Alfred Hitchcock’s movie, Dial M for Murder, will be better for her career. When Melissa tells Simon she has changed her mind, he is furious, claiming she has financially ruined him. The hotel receptionist, Nancy Mitchell, watches the altercation and sees Melissa and Simon drive off. However, Nancy is preoccupied by the shocking news that she is pregnant. After revealing her pregnancy to the father, she received an envelope containing £60 and the address of a London doctor. Nancy is furious and intends to make him pay.

Chapter 26 Summary: “Atticus Pünd Takes the Case, Chapter Four: Secrets and Shadows”

At Clarence Keep, Phyllis Chandler waits for Melissa to return with the Bentley. She hears a car stop nearby but there is no sign of her employer. Walking down a corridor lined with photographs of the village, Phyllis notices something amiss.

Francis Pendleton also hears a car while waiting for his wife’s return. The house is filled with mementos from Melissa’s films, and he takes a cigarette from a silver box engraved with MGM’s logo. Francis’s father, Lord Pendleton, cut him off when he married Melissa. Consequently, his future is dependent on his wife. Francis reexamines the letter he found in the wastepaper basket. Written by Melissa to an unknown man, it states that they must reveal their love to the world and be together. Francis plans to confront Melissa when she returns.

Later that evening, Detective Chief Inspector Edward Hare takes a call informing him that Melissa James has been murdered. Hare is about to retire and reflects that if he can solve the case, it will be a good note on which to end his career.

Chapter 27 Summary: “Atticus Pünd Takes the Case, Chapter Five: The Ludendorff Diamond”

Atticus Pünd thinks about a recent professional success: the case of the Ludendorff Diamond. After attending a party, the multimillionaire Charles Pargeter and his wife Elaine discovered their home had been broken into. They were accompanied by a friend, John Berkeley, who was staying with them. The Pargeters kept the priceless Ludendorff Diamond and other valuables in a safe that could only be opened with a sophisticated combination lock and a key that was with Charles Pargeter at all times. Entering the house, they found that the safe, which was in their walk-in closet, was open and empty.

Charles Pargeter told Pünd that John Berkeley advised him not to go near the safe so the evidence would be preserved. John then took him downstairs and told Elaine to phone the police. Two police officers examined the safe’s key and asked for the combination. Reviewing the scene, Pünd noticed a tear in the wallpaper near the walk-in closet. He also discovered that John Berkeley and the detectives who attended the crime scene had financial difficulties. Pünd worked out that the detectives were in league with John Berkeley. When the Pargeters left for the party, the detectives broke into the house, concealed the safe behind a theatrical flat, and placed a replica safe in front of it with the door open. When called to the scene, the detectives asked for the combination to the real safe, took the key, and opened it while the Pargeters were downstairs. However, they tore the wallpaper when they removed the dummy safe.

Chapter 28 Summary: “Atticus Pünd Takes the Case, Chapter Six: Crime and Punishment”

Pünd gives a talk at the Goldsmiths’ Hall entitled “Crime and Punishment.” He expresses his opposition to capital punishment and offers the opinion that due to recent wrongful convictions, the death sentence will soon be abolished. Afterward, Pünd discusses the speech with his new secretary, Miss Madeline Cain, who says that banning capital punishment would allow murderers to go unpunished. Then Miss Cain shows Pünd a letter from Edgar Schultz, Melissa James’s New York agent. Later that day, Pünd takes a transatlantic call from Schultz, who offers to pay him a generous sum to solve Melissa’s murder. Pünd agrees but uneasily reflects that it is the first time he has accepted a case by telephone.

Chapter 29 Summary: “Atticus Pünd Takes the Case, Chapter Seven: A Question of Time”

Atticus Pünd and Miss Cain travel to the Moonflower Hotel in the village of Tawleigh-on-the-Water. Pünd’s assistant reads A Daughter’s a Daughter by Mary Westmacott on the train.

Pünd meets DCI Hare, who explains that Melissa James’s murder occurred between 6:28 p.m. and 6:45 p.m. Melissa left the Moonflower Hotel at 5:40 p.m. and returned home at 6 p.m. Her husband Francis briefly talked with her before leaving at 6:15 p.m. for a performance of The Marriage of Figaro. At 6:18 p.m., the Chandlers heard Kimba bark, suggesting the arrival of a stranger. Phyllis and Eric then left at 6:25 p.m. in Melissa’s Bentley. At 6:28 p.m., Melissa called Dr. Collins in a distressed and frightened state. Dr. Collins arrived at Clarence Keep at 6:45 p.m. and found Melissa in her bedroom, strangled to death with the telephone cord. The telephone was torn from the wall, and Melissa had two sets of ligature marks around her neck.

DCI Hare states that Francis is the prime suspect. However, the businessman Simon Cox had a heated conversation with Melissa outside the Moonflower Hotel before she left. Cox claims that he went for a walk afterward but has no alibi. Algernon Marsh is also a suspect, as he had a close relationship with Melissa and was involved in her finances.

Chapter 30 Summary: “Atticus Pünd Takes the Case, Chapter Eight: Taken by the Tide.”

Pünd and Hare question Simon Cox, who claims he walked along the beach to Appledore after speaking to Melissa. Miss Cain interrupts, saying she grew up in Appledore and walking along the beach at that time of day is impossible as the tide is in. Cox then admits that he was furious with Melissa and drove to Clarence Keep, intending to speak to her again. He arrived 20 minutes before Melissa and parked out of sight. After Melissa returned, Cox went to the door, but he heard a woman accusing another person of disgusting behavior. Cox overheard the woman say “something about the Moonflower being crooked” and “that if Melissa found the truth, they would have to kill her” (338). He changed his mind about confronting Melissa and left. Pünd concludes that Simon Cox is telling the truth. Afterward, Madeline admits that she invented the story about living in Appledore, as Cox was clearly lying.

Chapter 31 Summary: “Atticus Pünd Takes the Case, Chapter Nine, Scene of the Crime”

Atticus Pünd, DCI Hare, and Miss Cain visit Clarence Keep. Francis’s green Austen-Healey and an old Morris Minor are parked outside. Dr. Collins emerges from the house, revealing he has given Francis Pendleton a tranquilizer. Francis tells the detectives that Melissa suspected the Gardners of fraud and intended to sell the hotel once she got to the bottom of the matter. He denies that he and Melissa argued before he left for the opera. Pünd concludes that Francis genuinely loved his wife.

Miss Cain is effusive in her admiration of Clarence Keep. Noting the movie posters that line the walls, she is puzzled by a poster of The Wizard of Oz signed by actor Bert Lahr, observing that Melissa did not star in the film. During an inspection of Melissa’s bedroom, Miss Cain almost faints as she stands by the writing bureau, knocking the letters to the floor. She quickly recovers, collecting up the letters and handing them to Pünd.

Hare reveals that three tear-soaked tissues were found at the murder scene: two in Melissa’s bedroom and one in the downstairs living room by the second telephone. Pünd speaks to the Chandlers, revealing they were overheard on the night of Melissa’s death. Eric confirms that Melissa thought the Gardners’ business practices might be “crooked.” Meanwhile, Phyllis claims she was angry with Eric for failing to perform his duties. She states that her son is a disappointment, unlike his war hero father. After the detectives leave, Eric is anxious. His mother makes it clear he must face the consequences of his actions alone.

Chapters 23-31 Analysis

The novel’s metafictional elements are especially obvious in this section, which is a second detective novel within Moonflower Murders. It draws attention to the use of nested storytelling as a literary conceit, and it also presents Atticus Pünd Takes the Case as a complete novel in its own right since it includes the entire text of Alan Conway’s book. The novel even presents Atticus Pünd Takes the Case’s  cover and introductory front matter, including copyright details, an “About the Author” page, and effusive endorsements from well-known crime writers, including Peter James and Lee Child. These details recreate the authentic experience of opening and beginning a new book.

The narrative style of Atticus Pünd Takes the Case is a pastiche of Golden Age crime fiction. The 1950s setting and style are derivative of Agatha Christie’s novels, and Horowitz includes playful allusions to the “Queen of Crime” throughout the narrative. The chapter titled “Taken by the Tide” evokes Christie’s novel Taken at the Flood. Additionally, Mary Westmacott—the author Miss Cain reads on the train—was one of Christie’s pseudonyms. While Atticus Pünd is German rather than Belgian, the private detective is inspired by Christie’s Hercule Poirot. Pünd shares Poirot’s distinctive approach to investigating a case, combining reason and logic with a profound understanding of human nature. Alan Conway’s novel also features many of the tropes Christie became famous for. For example, Tawleigh-on-the-Water typifies the conceit of the picturesque village where everyone harbors a potential motive for murder. Meanwhile, the narrative style of the Ludendorff Diamond chapter is a homage to Arthur Conan Doyle’s novels. Pünd’s use of logic and observational insight echoes the working methods of Sherlock Holmes, to whom solving crime is a purely intellectual exercise.

By using several familiar tropes of detective fiction, these chapters highlight the theme of The Power of Storytelling, especially drawing attention to the similarities between the crimes and characters in Atticus Pünd Takes the Case and the mystery that Susan is trying to solve. However, the plot of Atticus Pünd Takes the Case is by no means a straightforward transposition of Frank Parris’s murder to a different location and period. The narrative echoes certain aspects of Susan’s investigation, such as the name of the Moonflower Hotel and references to Mozart’s opera The Marriage of Figaro. At the same time, the circumstances of the murders and their victims are different. While characters share certain traits of their “real life” counterparts, the connections are not direct. For example, the inheritance storyline relating to Samantha and Leonard Collins bears similarities to the circumstances of Joanne and Martin Williams. However, the terms of the wills differ, creating good fortune for Samantha and Leonard and misfortune for Joanne and Martin. Nevertheless, Atticus Pünd Takes the Case explores parallel motifs and themes to the frame narrative of Moonflower Murders. For instance, cars once again enrich the portrayal of characters—Algernon Marsh’s distinctive right-hand-drive Peugeot demonstrates his vanity and his irresponsible attitude toward driving illustrates his amorality. Alan Conway’s novel serves as a distorted mirror image of the events on which it is based. The narrative complicates the mystery instead of offering clear answers to Frank Parris’s murder.

The theme of The Harmful Impacts of the Abuse of Power emerges in Melissa James’s character. The actor’s power over others lies in her fame and beauty. Her callous treatment of her husband, Francis, illustrates her sense of entitlement; she also withdraws from a film project at the last-minute, with no remorse or concern for the consequences. Simon Cox’s asserts that Melissa “dismissed [him] without a single thought because [he is] a nobody, because in her eyes [he is] a Latvian peasant” (337); this emphasizes how she cruelly exploits his lack of social status. The statement recalls Lionel Corby’s claim that Lisa Treherne exploited Stefan Codrescu’s standing as an immigrant with limited employment prospects. The history of Melissa’s home, Clarence Keep, echoes her portrayal as an exploitative character. Built in the colonial style and once the home of a former governor of Jamaica, the house has its roots in slavery and oppression.

Atticus Pünd’s public speech, “Crime and Punishment,” touches on the theme of The Limits of the Criminal Justice System. The detective’s opposition to capital punishment recalls Craig Andrews’ assertion that the criminal justice system’s punishment methods are ineffective and outdated. Pünd’s reference to wrongful conviction cases, such as that of Derek Bentley, who was wrongly hanged for a murder, reflects the likelihood that Stefan Codrescu is the victim of a miscarriage of justice.

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